J.S. Bach: French Suite No. 3 in B minor, BWV 814 - Sarabande (with score)/ Yevgeny Morozov, piano скачать в хорошем качестве

J.S. Bach: French Suite No. 3 in B minor, BWV 814 - Sarabande (with score)/ Yevgeny Morozov, piano

J.S. Bach: French Suite No. 3 in B minor, BWV 814 - Sarabande / Yevgeny Morozov, piano. This recording was made at the Stevenson Hall, RSAMD ( now Royal Conservatoire of Scotland ). Yevgeny was a piano student of Philip Jenkins (https://www.gsmd.ac.uk/staff/philip-j..., Head of Keyboard Studies at the RSAMD 1989-2007, who was himself a student of the legendary pianist Dame Myra Hess. Yevgeny Morozov was a recipient of the Bach Prize for harpsichord, piano and organ in 1997. The third 'French' suite alternates seductive melodies with brilliant virtuosity. In Baroque music, the key of B minor had a melancholy quality. Bach reserved it for a few of his most impressive works, such as the Kyrie in the Mass in B minor. This third 'French’ suite opens with a delicate Allemande; possibly the most delicate Allemande of all six suites. It is a duet that could almost be played as a solo with accompaniment – on the flute, for example. The opening motif also appears throughout the piece in inversion and in imitation. The Courante is also based on a motif from the first bar, in the bass, which soon takes over the movement of this fast dance completely. By tradition, this is followed by a stately Sarabande, to which Bach lends a more cantabile air than the French models by Couperin, for example, with which Bach was familiar from his youth. Then we hear two fast sections; in some sources first the very rhythmical Menuet with its contrasting Trio, followed by the Anglaise, and elsewhere in reverse order. Pierre Hantaï chose for the latter. The Anglaise, incidentally, had not come over from England, but from the court of Louis XIV, and is reminiscent of a Gavotte. And finally, the Gigue is all about imitation, whereby the two parts continually chase one another. ‘French’ suites, BWV 812-817 Bach composed his ‘French’ suites as a young man of thirty, when he was working at the court of Köthen. However, the suites have nothing to do with the court. Bach wrote them for teaching purposes in his own private circle. The first five appear in their original form in the little music book he compiled in 1722 for his second wife Anna Magdalena, possibly as a wedding present. But Bach continued to rework the pieces. The later versions, with the addition of a sixth suite, have survived thanks to the many copies made by his pupils. They are rewarding practice pieces that despite a certain compositional complexity (it is Bach, after all), do not make extreme demands on the player. The epithet ‘French’ was not given by Bach himself and appears for the first time in a text from 1762, twelve years after Bach’s death. The pieces are no more French than his other keyboard suites, just as the previously composed ‘English’ suites are not particularly English either. Indeed, the ‘English’ suites, with their extensive preludes, actually follow the French model to a certain extent. But as usual, here Bach is using a cosmopolitan language; an ingenious synthesis of various European styles. The ‘French’ suites do not have a prelude, but launch straight into the first dance: an allemande. This is followed by the classical sequence of courante, sarabande and gigue, with a somewhat freer selection of dances in between the sarabande and gigue, ranging from the minuet and the gavotte to the bourrée and the less common loure. ---------- Yevgeny Morozov is a concert pianist, located in the state of New Jersey, USA. He is a Prize-Winner of many international piano competitions in U.S. and Europe, including IKIF Artist Recognition Competition in NYC, YAMAHA Music Foundation of Europe Scholarships Competition in London, John Ireland Competition in Glasgow, U.K., Dublin International Piano competition in Ireland, Kil's International Piano Competition in Sweden, HUMMEL International Piano Competition in Slovakia, Prokofiev's International Music Festival in Moscow, among others. Apart from solo performing, Yevgeny Morozov collaborates in chamber music recitals and has frequently appeared as a piano soloist with orchestra.